Skip to main content

Apple Final Cut Pro X: In-Depth

Lesson 39 of 42

Color Correction Q&A


Apple Final Cut Pro X: In-Depth

Lesson 39 of 42

Color Correction Q&A


Lesson Info

Color Correction Q&A

The question from greg who says how does one delete user created color correction presets how do you delete? User created color corrected presets that's what I was doing what I was asking you that tad tread water forming a select a clip. Go to the inspector now remember the hook. Pierrot is the reset, so if under color you click the reset arrow, it automatically resets the entire filter. Notice that this rightward pointing arrow goes gray when you click the right point in their own. Let me just make a big color change here and go back again. Notice that whenever there is a color change, this rightward pointing arrow now has a color associated with it. If you need to color cry. If you need to reset the entire color filter, then you click that go back button. If you need to reset just a particular color setting, you click just the hook eero for that color setting toe. Add multiple corrections to the same clip you click the plus key. So, for instance, here I could do a global correction t...

o change the green cast of the clip to skin tone. And then I could change the blue bicycle seat to read and then I could change maybe her pink shorts to green by adding multiple corrections to remove a single correction highlight the correction hit the delete key you always have to have one correction but the correction need not be applied and if that arrow is a right pointing gray arrow then there's no color correction that's been applied to that clip next question can you say this is from sky can you save grade for future clips also can you do a global grade on a master clip? Uh yes to the master well, make sure um no, I can do I can do things like analyzed the clip but I can't do a color great now that video let me just do one experiment here oh, that's the wrong folder. No wonder oh, larry, pay attention, joe I was so distracted by the brilliance of that question that I just my brain had just shot down. There we go. Okay? This is a piece of media that is er devi format on let's. Just see if I can find dr surf there it is. No, it looks like I can color grade a master clip when it's part of the multi cam clip and I can call a greater clip when it's inside the timeline but I cannot color greater clip when it is on ly in the browser so the answer is no too color grating a master clip can I save presets? All right, let's just think about that for a second. The answer is I think the answer is no, oh, yes, I lied market. The answer is yes, and the way it works is when you are inside the color correction notice I've clicked the rightward pointing arrow in the bottom there's a pop up menu, the pop up menu allows you to set a preset, which is a combination of color, saturation and exposure. You can then save that preset there's a whole bunch of existing pre sets that are already there. You can save that pre set and then recall that so let's say that you wanted to color correct all three of these clips, but they're different times of the timeline correct it the first time, save it it's a pre set and then you could then apply that precept we'll just set alien lab here on notice here will set this one to be alien lab and we now have thie each of these clips now has the same look and feel so the answer is yes, you can save presets and no, you can't create master clips unless it's in a multi cam clip. What else we got so also would like to know why do they? I'm not sure who they is always say to decrease saturation and exposure while shooting with a dslr and re compensate it while doing color correction because they're on drugs I can't think of a reason a decreasing exposure and slightly under exposing an image is a good idea because you want to avoid having stuff blow out if possible. I can't think of a single good reason to decrease saturation because it's much better to record too much saturation and pull it out later try to add saturation. It doesn't exist later. Hang on, we checked with an expert ed, can you think of any reasons why you'd wanted undershoot and under chroma? I think I think what you're talking about a shooting flat there's, another technicolor presets for like a dslr like cannon? Yeah, but shooting flatter, shooting ross entirely different. I mean, I could see under exposing, but I can't see decreasing the chroma saturation just shooting a flat, raw image makes sense. I can see that, right, but I think that's what they're after they're they're probably referencing is shooting too flat, so if you're shooting of hd image, then shoot it so it looks really good because it's easy to remove color if, on the other hand, you're shooting a raw image. When you look at a raw image, it looks kind of washed out. It looks kind of de saturated because the color space that raw uses is a different color space than the rec seven or nine of hd so they're shooting raw gives you more latitude and post but requires a color grade to make sure the images look good but shooting raw is not the same thing is decreasing the color during the shoot, right? And the other thing to notice what you're trying to do trying to do basically if you want to protect the heist, you don't blow it out, you know I don't want to crush the blacks too much you want to be in there somewhere in between so that's that's I always say get it right in camera just do your darnedest to get it lit, right? If you possibly can and get it right in camera, just make sure that you're not going over because we know that like you say they camera shoot super white and we don't want to just go over the top so we have nothing teo correct to on then don't crush the blacks too much because we can always push those down pretty well. There's a new style of shooting, which dolby is now pushing called high dynamic range video and what high dynamic range does this instead of giving us safe five stops of latitude, it gives us twelve to thirteen and I've had a chance to see some technical demos of what that looks like, and it gives us some amazing look for even low resolution high definition video so uh, I think there's a lot of opportunity for shooting rock because this much more control over dynamic range, but you have to allow time to have a color grade on that. I was just going to add, maybe he's thinking, like, you know, the black magic, new cameras, the pocket camera, they shoot this very flat thing that maybe ed's talking about with the idea of later having a color correction come back in and an increased saturation or increased the as you're showing the blacks and the and the whites. And so, like I was saying, there's, a suna style, uh, type profile for deal solares that kind of accomplishes that so could entirely be good point. Jim, what else we got? All right, larry. One last question before we move on, cliff cheney would like to know do european broadcast stations require different color grading standards? No. Rex, seven or nine is the same around the world. Now there is a difference between ntsc and pal. So if you're taking a standard definition signal and you're grating it for ntsc or you're grating of for pal, those do have different color standards. But the cool thing is when you look at the vector scope, the vector scope targets will change based upon whether it's in ntsc image or whether it's a pal image. So remember that general guideline that I gave you, saying, if you connect the tops of all the targets to create a six sided shape, you still connect the tops of the targets, but the shape is slightly different between ntsc and pal at hd, but still stay inside the boundaries of connecting the tops of those targets again. There's a little bit more latitude in the mid tones ah, lot less latitude as you get towards pure white and pure black, but the general targets are a good place to stay within for most color grating as you're starting to develop what works and what doesn't in terms of raw images, raw has an entirely different, entirely different color speck in there that's a longer discussion we have time for so the answer is gray scale is always the same worldwide, all standards, the way for monitor doesn't change what does changes, what is over saturated color and where our colors located and there the vector scope will shift based upon whether you're looking at something in ntsc, which is north america pal, which is most of the rest of the world and high definition.

Class Description


  • Import media into Apple Final Cut Pro X
  • Use its media management tools to organize your files
  • Explore the endless possibilities for creating amazing video effects and dig into audio.
  • Sharpen the skills you need to edit, trim, and combine clips to create a dynamic, engaging final cut.


Apple® Final Cut Pro® X has been rocking the film editing world since its initial release in 1999. Today, eleven upgrades later, the video editor's users number in the millions and its editing tools have powered major motion picture and small screen edits. Join Larry Jordan to learn what makes this video editing software so powerful, versatile, and indispensable.

Now an industry standard video editor alongside options like Adobe Premiere Pro, Apple Final Cut Pro X encompasses pro-level editing tools for Mac. Final Cut Pro is a Mac-only program with professional tools that blow the free video editing software and budget video editors like iMovie, Adobe Premiere Elements, and Movie Maker out of the water. The video software can handle everything from 360-degree video to Hollywood-level productions. But navigating those advanced editing tools is a daunting task for beginners. Pretending Final Cut Pro is an intuitive, beginners program will only leave you frustrated and missing the biggest features.


Whether you are brand new to editing, self-taught, or a seasoned pro, this course will take your editing skills and Apple Final Cut Pro X mastery to a whole new level, from upload to save.

Apple Final Cut Pro X


Larry Jordan is an internationally-renowned consultant, digital media analyst, and trainer with over 35 years of experience as a television producer, director, and editor with national broadcast and corporate credits. He is recognized as the foremost trainer in both Apple Final Cut Pro (Mac) and Adobe Premiere Pro (Mac and Windows) where his informative and entertaining teaching style provides video editors around the world with unique resources to increase productivity and enhance their skills. Jordan is on the faculty at both USC and Video Symphony and the host of the weekly podcast.


  1. Introduction

    Larry Jordan says a majority of the Final Cut Pro X technical help questions he answers stem from jumping right into editing without understanding how the software works. In the first lesson, learn what to expect in the class and why, when you edit videos, you start with organization.

  2. Key Terms

    Video editing tools are often confusing for newbies because of the terminology. Walk through the jargon you need to know and key concepts for Final Cut Pro to get started on the right foot.

  3. System Configuration and RAID Storage

    Final Cut Pro X can run on any Mac except for the Mac mini. Here, learn the best system set up for video editing and learn how to make your budget go the farthest when setting up a computer for video editing, and why storage, not the computer is most important.

  4. Q&A with Creating an Efficient Workflow

    Video editing with Final Cut Pro is just as much about the actual tools as it is about creating an efficient workflow. In this lesson, find the answers to some of the biggest questions in the workflow.

  5. Interface and Media Management

    Understanding the Final Cut Pro X interface helps you navigate through the program from one step of the workflow to the next. Explore Final Cut's single window interface and the three broad sections, as well as where to find the hidden windows and what they do.

  6. Importing Media Part 1

    Final Cut Pro will import any videos supported by your computer, from files that already exist on a hard drive to videos from a camera's SD card. Walk through the import process and options, from basic options to marking favorite locations, when working with files that already exist on the hard drive.

  7. Importing Media Part 2

    Final Cut Pro will also import your media for you from a camera. Larry walks quickly through what's the same when importing from a camera and points out the important differences when using different import methods.

  8. Ratings and Keywords

    Creating a video often means working with multiple, long video files. This lesson walks through organizing video clips to make finding the exact clip you need easy. Larry then walks you through creating the actual project and getting started in the video editing process itself.

  9. Reviewing Clips for Edit

    Time to dig into editing -- but where do you start? Reviewing the available clips to see what to include is a good place to start. Larry walks you through the process, from the keyboard shortcuts, to marking a clip.

  10. Importing Clips

    Once you've identified some clips to work with, it's time to actually add them to your timeline. Jordan walks through the different options from using keyboard shortcuts to mark the in and out to using a simple drag and drop to the timeline. Whichever option you use, Jordan says, don't worry too much about getting it exact because you can fine-tune further later on.

  11. Editing an Interview Demo

    In this essential lesson, see a finished clip and walk through how the interview was assembled. Larry outlines the fundamentals of assembling an interview -- using techniques that work with any type of video edit -- in Apple® Final Cut Pro® X.

  12. Replace Edit and Timeline Index

    Continue to work with the timeline with tricks for replacing clips. Larry walks through simple methods, like using a drag and drop, to more advanced options like the three-point edit, as well as timeline tricks for working with chroma-key. Learn replacement edits along with other timeline tricks in this lesson.

  13. Compound Clips and Auditions

    Compound clips and auditions are specialized functions inside Apple Final Cut Pro. An audition allows video editors to compare clips easily. A compound clip is a project inside of a project. Walk through the how, why and when for these advanced features.

  1. Editing Review

    Jump back into video editing with the editing review that launches day two of this three-day class. Larry reviews the first part of the class and gives you insight into what's next.

  2. Trimming Part 1

    The way clips are assembled in the final video plays a big role on how the final video influences the viewer's emotions. Larry mixes the art of clip trimming with the tools inside Final Cut Pro.

  3. Trimming Part 2

    Trimming isn't always adjusting the beginning and end of a clip. Larry walks through the process of creating a slip trim, as well as tricks like trimming multiple clips at once.

  4. How We Hear

    Jumping into audio, learn the basic terms to audio editing, how we hear, and get started on understanding audio tracks inside Final Cut Pro.

  5. Audio Key Terms with Q&A

    Continue unraveling audio editing with key audio terms that aren't specific to Final Cut Pro. Learn how sound is visually represented and how to set levels for the best sound.

  6. Audio Basics, Meters, and Inspector

    Work with levels and audio inside the Final Cut Pro timeline by diving into the video editor's basic audio tools. Larry walks the class through levels, audio meters, keyframes and more. Learn how to eliminate a cough from the audio, how to reset parameters and more.

  7. Audio Q&A

    Audio is a big component to understanding video editing. Find the answers to the most frequently asked questions with this quick lesson using questions from students just like you.

  8. Dual System Sound and Audio Analysis

    Video and sound are sometimes recorded separately -- often when the mic built-into the DSLR or GoPro used to record the video isn't great at capturing audio. Larry walks through the process of syncing audio to the clip with double system recording along with the audio analysis tool that allows Final Cut to conduct an automatic analysis and fix some audio problems.

  9. Multicam Editing Part 1

    Editing video shot with multiple cameras is a common task in the video industry -- and Final Cut Pro has tools designed just for the task. Larry walks through the basics of multicam editing and getting started with the multicam feature. Learn how to group the cameras, create a new multicam clip and adjust the order using the angle editor to prep the workspace for working with videos from multiple cameras.

  10. Multicam Editing Part 2

    Once the footage is grouped and ready, follow Larry through the process of finessing those multiple feeds into a cohesive video. Start with setting the audio to a single camera, then move into switching the camera angles with a simple click and more advanced multicam tools.

  11. Transitions Part 1

    Transitions help make moving from multiple cuts a smooth experience. Learn the keyboard shortcuts for transitions, timing transition adjustments, and adjusting a transition with a roll trim.

  12. Transitions Part 2

    Creating transitions is an art -- learn the three main types of transitions, when to use them, what emotions transitions bring, and working with transitions in Final Cut Pro.

  13. Formatting and Animating Titles

    Titles reinforce key pieces of information, Larry says. Learn how to use titles, how long to leave titles up, where to place titles, and how to format titles in Final Cut Pro.

  1. Additional Effects

    Titles aren't the only type of special effects you can create inside Final Cut Pro. In the first lesson of the final day of the class, get a peek at what's up ahead, including how to add video stabilization, correct rolling shutter, work with images and create special effects like the Ken Burns effect.

  2. Editing and Trimming Review

    Recap the editing and trimming essentials to review what Larry says is the most essential thing to understand on using Final Cut Pro. Larry puts all the editing and trimming together in a final look at the process.

  3. Changing Speed of a Clip

    The speed of a clip can create drama. Learn how to manipulate the timeline with techniques like freeze frames, variable speed, and slow motion. Decipher the retime menu and learn the tools for manipulating time.

  4. Inspector Effects

    The Inspector inside Final Cut Pro allows video editors to make changes, from adding video stabilization to adjusting the aspect ratio. Follow Larry through the Inspector Effects to learn the special effects hiding in this menu.

  5. The Effects Browsers and Generators

    Video editors can create their own videos directly inside Final Cut Pro using Generators, a tool that's helpful for creating backgrounds for infographics and other items. Larry walks through the Generators and how to use them, along with diving into the Effects Browser interface.

  6. Blend Modes

    Blend Modes originated in Photoshop, but introduce some interesting special effects for video editors as well. Learn how to use blend modes, change the opacity for regular clips and picture-in-picture, and more in this lesson.

  7. Effects Q&A

    Dive into the most frequently asked questions on special effects as Larry explores questions posed by students just like you.

  8. Simple Effects

    Final Cut Pro has a number of different special effects options. Larry walks you through the most useful special effects and how to use them, so that you'll know how to manipulate those oddball effects too.

  9. Intro to Color Correction

    Color correction is a big enough task that entire careers are dedicated to the task. Learn what you need to know on color correction basics to successfully create a color-corrected video inside Final Cut Pro.

  10. Video Scopes

    Final Cut Pro uses three main video scopes -- the waveform monitor, the vectorscope, and the histogram. Larry walks through how to use each tool in color correction.

  11. Color Correcting for Video

    Learn what colors are most essential to get right and how to manually adjust color in videos inside this lesson. Work with the vectorscope and waveform monitor to edit color in a video.

  12. Color Correcting Skintone

    If the skin color is off, the entire video looks off. Larry walks you through how to adjust skin tones. Every skin tone is different -- this lesson is designed to give you the tools and know-how to correct for every skin tone.

  13. Color Correction Q&A

    Dive into the most common questions on color correction with this short lesson taking questions from students.

  14. Audio Effects Part 1

    Visual effects are only half of the special effects equation. Walk through audio effects, from manipulating audio levels to creating a stereo mix.

  15. Audio Effects Part 2

    Continue digging into audio special effects with advanced techniques inside Final Cut Pro. Work with channel filters to mix voice and music and the limiter filter to correct audio that's too soft.

  16. Exporting and Sharing

    After all that editing, how do you share your video? Walk through the export process, from exporting an XTML and a master file to sharing to YouTube directly from Final Cut Pro. Learn about exporting to different file formats and video formats, including .mp4.


a Creativelive Student

Absolutely one of the best & easy to follow teaching / learning sessions for this product. Larry has a great approach & insight into delivering a wealth of information from his years of experience that budding video engineers will certainly benefit from with a product that is powerful & great to use. I'm enjoying the journey to better understand & use this great product, expanding my experience in producing awesome video presentations. Great work Larry, & also huge fan of creativelive Keep up the great work you all do to assist budding producers in mastering their skills. Noel Blake Melbourne Australia


Final Cut Pro with Larry Jordan has been of enormous help to me just stating in FCPX. Larry has a unique way of getting the message on the basics across in an easy to understand manner. I have not yet looked at the entire course as I am practicing the steps as I go through the course. Many programs of FCP are not presented in the easy to follow manner thatL array does so well. I am 100% delighted with my purchase. I am in Sydney, Australia, and, due to the time difference it is impractical to view courses live. So I had to purchase on trust which in this case was a good choice. It would be good if Creative Live could perhaps rerun programs so overseas folks could view them at a convenient time. The courses still need to be purchased as I find it best to run it on another monitor and put what is taught into practice. Well done and thanks for the special offer in July.

a Creativelive Student

Attending this class was really a life-changing experience. Larry is a wonderful teacher and clearly on top of the program and methodology, and the way he structured the course, did frequent reviews and constant technique reminders (naming keyboard shortcuts as he did them, for example) really added a lot to the presentation. The depth of the class was very much appreciated, and his command of a complex subject showed that it was possible. I have wanted to understand FCP for several years and have only gotten the beginnings of a handle on it in the last 6 months or so. This class was an exponential knowledge upload and I hope will allow me to do lots of things I've only wondered about. I thought Jim was a good foil for Larry and did a nice job keeping things together, even when there was a technical problem. The value for me of being able to sit through the class before deciding to purchase was huge, and I am very much looking forward to reviewing the videos as questions come up. The class was very thorough and I didn't feel anything was being left out. Thank you so much for making it available.

Explore More Free Classes


Enjoy the free classes? Get 2000+ more Classes and watch it anytime, anywhere.

Get The Pass